{"id":46179,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46179"},"modified":"2026-03-10T08:34:53","modified_gmt":"2026-03-10T08:34:53","slug":"altibajos-ups-and-downs","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/altibajos-ups-and-downs\/","title":{"rendered":"Altibajos \/ Ups and downs"},"content":{"rendered":"

Autor:<\/strong> VIVIANNE LOR\u00cdA<\/p>\n

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 227<\/p>\n\n

Como otros festivales de fotograf\u00eda, el de Printemps de Septembre, celebrado cada a\u00f1o al comenzar el oto\u00f1o en Toulouse, ha abandonado la camisa de fuerza de ese g\u00e9nero para ampliar su alcance a todos los medios utilizados en el arte contempor\u00e1neo. As\u00ed, este a\u00f1o, como en los dos anteriores, han podido verse instalaciones, v\u00eddeos, esculturas, ensambles, y obras sonoras, esta vez con el tema Lignes Bris\u00e9es (L\u00edneas rotas). <\/p>\n

De nuevo, la direcci\u00f3n art\u00edstica ha reca\u00eddo en Jean-Marc Bustamante, y otra vez el eje de la oferta expositiva ha sido Les Abattoirs. All\u00ed pudo verse la impactante masa crom\u00e1tica de Anish Kapoor My Red Homeland (2003), un gran c\u00famulo de pigmento domado por un mecanismo a motor; la instalaci\u00f3n Get out of my room (2006), de Andro Wekua, \u2013un maniqu\u00ed con aspecto de estudiante, en actitud indolente, con los pies puestos sobre una mesa y rodeado de serigraf\u00edas, en medio de un ambiente umbroso\u2013; o las infantiles intervenciones de Nedko Solakov en los servicios de la instituci\u00f3n. Tambi\u00e9n se expusieron all\u00ed pinturas de Dana Schutz \u2013que resultaban interesantes tras un examen detenido\u2013 y superficies pict\u00f3ricas y gr\u00e1ficas que invad\u00edan el espacio realizadas por el joven artista Cl\u00e9ment Rodzielski; proyectos de Art & Language; la instalaci\u00f3n Birdwatching (2003) \u2013dos jaulas con alrededor de medio centenar de canarios multicolores\u2013, de Alex Hanimann; piezas de Joe Scanlan, Lawrence Weiner y Tatiana Trouv\u00e9; y obras sobre papel y fotograf\u00edas de Rodney Graham, as\u00ed como su pieza Parsifal Transformation Music (1990) \u2013dos vitrinas dise\u00f1adas por Jan Vercruysse con 12 libros que contienen arreglos compuestos por Graham para la \u00f3pera Parsifal de Wagner\u2013. <\/p>\n

La oferta de v\u00eddeos, m\u00e1s densa en esta edici\u00f3n, inclu\u00eda en Les Abattoirs la atrayente Guards (2004) y la obra Shoeshine (2004), ambas de Francis Al\u00ffs, as\u00ed como la misteriosa 1st Part Conditional (2004), de Markus Schinwald (expuesta junto a media docena de im\u00e1genes fotogr\u00e1ficas firmadas por el artista); el sobrevalorado Be The First To See What You See As You See It (2004), de Runa Islam, y A morir (2000), de Miguel \u00c1ngel R\u00edos \u2013un primer plano de varios trompos girando con vigor\u2013. Las obras videogr\u00e1ficas m\u00e1s destacables son las de Julian Rosefeld, certeramente montadas en una sala del H\u00f4tel Dieu Saint-Jacques, y Margaret Salmon \u2013proyectadas en el s\u00f3tano de la Fondation Espace \u00c9cureuil\u2013. La magn\u00edfica obra Asylum (2001-2002), de Rosefeld consiste en una gran proyecci\u00f3n en nueve canales de im\u00e1genes filmadas en 16 mm y transferidas a dvd , perfectamente sincronizadas. Cada pantalla muestra un grupo marginal o ex\u00f3tico en una actividad extra\u00f1a: prostitutas orientales sentadas en un carrusel, sirvientas de pa\u00edses del Este barriendo un jard\u00edn de suculentas, cocineros japoneses en una habitaci\u00f3n de azulejos rojos invadida por ramas de \u00e1rbol, hombres negros en un oscuro sal\u00f3n haciendo bailar mu\u00f1ecas hawaianas, etc. De los cuatro v\u00eddeos de Salmon presentados, destaca especialmente Peggy (2003), un retrato pat\u00e9tico de una anciana en su desolado mundo dom\u00e9stico. <\/p>\n

En el H\u00f4tel Dieu se mont\u00f3 tambi\u00e9n la instalaci\u00f3n Fountain (Rose) , de Gert Verhoeven, una fuente rojiza de agua rodeada de luces y toallas te\u00f1idas de rojo, en el marco severo de la capilla del edificio; y piezas de la serie Places (2006), de Jan Vercruysse, planchas de acero corten oxidado y acero galvanizado negro con los s\u00edmbolos de la baraja francesa calados de forma \u201cdescentrada\u201d. El Ch\u00e2teau d’Eau estuvo ocupado por Olivier Blanckart, con sus caracter\u00edsticas figuras que semejan papier m\u00e2ch\u00e9 . Varias piezas de la serie Alg\u00e9rie, les Femmes D\u00e9viol\u00e9es (d’apr\u00e8s M. Garanger) , de 2004 \u2013inspiradas en los retratos realizados por Marc Garanger en 1960, por encargo de la armada francesa, a mujeres argelinas\u2013, estaban en la planta baja, mientras que el s\u00f3tano albergaba la instalaci\u00f3n Le Grand Afflictif (D’apr\u00e8s une photo de Laurent Quadrini) , de 2004, que parte del registro fotogr\u00e1fico de una especie de manifestaci\u00f3n que realizaron los parientes de la familia Flactif, que hab\u00eda desaparecido misteriosamente de su lujoso chalet alpino, cuando se descubri\u00f3 que hab\u00edan sido asesinados por un vecino envidioso. Blanckart transforma as\u00ed en icono, en figuras hier\u00e1ticas y dotadas de un aura ritual, im\u00e1genes cuya aparici\u00f3n en los diarios, su aire documental, hace que nos parezcan prosaicas y repetitivas. <\/p>\n

Proyectos de menor inter\u00e9s han sido los de Laurent Montaront, Lonnie van Brummelen y Jules Spinatsch en el Espace Croix-Baragnon; el de John Bock en el Espace edf Bazacle \u2013que inclu\u00eda el exasperante film Dandy (2006) y varias formas alargadas colgantes\u2013, los de Cathy de Monchaux en la Maison \u00c9clusi\u00e8re, y los de Peter Kogler \u2013su intervenci\u00f3n en el arco del Pont Neuf, que buscaba crear la ilusi\u00f3n de una estructura moderna de tubos de metal sobrepuesta al ladrillo original del puente; o su intervenci\u00f3n nocturna en otro punto del r\u00edo Garona, que consist\u00eda en la proyecci\u00f3n de un desfile de enormes ratas\u2013. Por intrascendentes que parecieran algunas de estas piezas, y varias de las expuestas en Les Abattoirs, ninguna llega tan bajo como la p\u00e9sima Non Verbal (2006) \u2013dos maniqu\u00edes intervenidos, una pantalla lcd sin funcionar, un cochecito de beb\u00e9 y otros elementos\u2013, de Cathy Wilkes, cuya majader\u00eda resultaba enfatizada por hallarse expuesta precisamente en la sede en que se exhib\u00edan quiz\u00e1s las mejores obras del Festival: los ya mencionados v\u00eddeos de Margaret Salmon, proyectados en el Espace \u00c9cureuil. <\/p>\n

En definitiva, con altos y con bajos, y sin quedar muy claras las conexiones entre el discurso curatorial y los proyectos expuestos, Printemps de Septembre mantiene en todo caso el atractivo de una exposici\u00f3n no muy dilatada ni pretenciosa, que se apoya mucho e inteligentemente en la belleza de la propia ciudad de Toulouse. <\/p>\n

Ups and downs <\/strong><\/p>\n

Following the steps of other photography festivals, Printemps de Septembre, which is staged annually at the beginning of autumn in Toulouse, has also removed the straightjacket of this genre to embrace all the resources used in contemporary art. Consequently, this year, as in the two previous editions, the festival has included installations, videos, sculptures, ensembles and sound pieces, gathered under the general title of Lignes Bris\u00e9es (Broken Lines). <\/p>\n

Jean-Marc Bustamante has once again been in charge of the artistic management, and the axis of the exhibition offer was once again Les Abattoirs. On show was Anish Kapoor’s breath-taking chromatic mass My Red Homeland (2003), a large cluster of pigment tamed by a motor-driven mechanism; Andro Wekua’s installation Get out of my room (2006) \u2013a student-like mannequin, in an lazy attitude, feet up on the table and surrounded by silk screen prints, enclosed in a shady atmosphere\u2013; or Nedko Solakov’s childish interventions in the toilets of the institution. The show also included paintings by Dana Schutz \u2013which were interesting after detailed examination\u2013 and pictorial and graphic surfaces that invaded the space created by young artist Cl\u00e9ment Rodzielski; projects by Art & Language; Alex Hanimann’s installation Birdwatching (2003) \u2013two cages with some fifty multicoloured canaries\u2013; pieces by Joe Scanlan, Lawrence Weiner and Tatiana Trouv\u00e9; and other works on paper and photographs by Rodney Graham, as well as his piece Parsifal Transformation Music (1990) \u2013two cabinets designed by Jan Vercruysse with 12 books that contain arrangements composed by Graham to be used with Wagner’s opera Parsifal . <\/p>\n

The video offer was more numerous in this edition. Les Abattoirs projected the attractive Guards (2004) and the work Shoeshine (2004), both by Francis Al\u00ffs, as well as the mysterious 1st Part Conditional (2004), by Markus Schinwald (exhibited alongside half a dozen photographic images signed by the artist); the overrated Be The First To See What You See As You See It (2004), by Runa Islam, and A morir (2000), by Miguel \u00c1ngel R\u00edos \u2013a close-up of several fast spins. Of all the video works on show, the most notable works were created by Julian Rosefeld, accurately on show in a hall at the H\u00f4tel Dieu Saint-Jacques, and by Margaret Salmon \u2013projected in the basement of the Fondation Espace \u00c9cureuil. Rosefeld’s magnificent piece Asylum (2001-2002) is a large projection of images filmed in 16 mm and transferred to dvd and screened on nine channels in perfect synchronisation. Each screen shows a marginal or exotic group performing a strange activity: oriental prostitutes on a carrousel, Eastern European servants sweeping a garden of succulents, Japanese chefs in a red-tiled room invaded by branches, black men in a dark hall making Hawaiian dolls dance, etc. As regards the four videos Salmon presented, the most notable is Peggy (2003), a pathetic portrait that depicts old lady in her desolate domestic world. <\/p>\n

The H\u00f4tel Dieu was also the setting for Gert Verhoeven’s installation Fountain (Rose) , a reddish water fountain surrounded by lights and towels that had been dyed red, in the severe framework of the chapel of the building; and the pieces from the series Places (2006) by Jan Vercruysse, sheets of rusty corten steel and black galvanised steel with symbols from the French card deck alternated in a \u201cdisoriented\u201d fashion. The Ch\u00e2teau d’Eau was occupied by Olivier Blanckart and his characteristic figures that resemble papier m\u00e2ch\u00e9 . Several pieces from the series Alg\u00e9rie, les Femmes D\u00e9viol\u00e9es (d’apr\u00e8s M. Garanger) , from 2004 \u2013inspired by Marc Garanger’s portraits of Algerian women from 1960, commissioned by the French armada\u2013, were positioned on the ground floor, whilst the basement accommodated the installation Le Grand Afflictif (D’apr\u00e8s une photo de Laurent Quadrini) , from 2004, that stems from the photographic record of a sort of demonstration carried out by the relatives of the Flactif family, who disappeared mysteriously from their luxurious Alpine chalet, when it was discovered that they had been murdered by a jealous neighbour. Blanckart uses images that, due to their inclusion in newspapers and their documentary nature, usually seem prosaic and repetitive, and transforms them into icons, hieratic figures loaded with a ritualistic aura. <\/p>\n

Less interesting projects were presented by Laurent Montaront, Lonnie van Brummelen and Jules Spinatsch at the Espace Croix-Baragnon; John Bock at Espace edf Bazacle \u2013which included the exasperating film Dandy (2006) and several elongated hanging pieces\u2013, Cathy de Monchaux at the Maison \u00c9clusi\u00e8re, and Peter Kogler \u2013his intervention on the arch of the Pont Neuf attempted to create the illusion of a modern structure made of metal tubes placed on top of the bridge’s original brick construction; or his nocturnal intervention on another spot of the river Garona, that consisted of the projection of a parade of large rats\u2013. However insignificant some of these pieces, and several of the works on show at Les Abattoirs, may seem, none is as deficient as the dreadful Non Verbal (2006) \u2013two mannequins, an lcd screen that did not work, a pushchair and other elements\u2013, by Cathy Wilkes, whose inanity was highlighted by being on display precisely in the venue that presented the best pieces in the whole of the Festival: the afo reme ntioned videos by Margaret Salmon, projected at the Espace \u00c9cureuil. <\/p>\n

In all, with ups and downs, and without clear connections between the curatorial discourse and the projects on show, Printemps de Septembre maintains the attraction of an exhibition that is not too long or pretentious, and which is, intelligently, based greatly on the beauty of the actual city of Toulouse. <\/p>\n

Translation: Laura F. Farhall <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Autor: VIVIANNE LOR\u00cdA Revista: L\u00c1PIZ Revista Internacional de Arte n\u00ba 227 Como otros festivales de fotograf\u00eda, el de Printemps de Septembre, celebrado cada a\u00f1o al comenzar el oto\u00f1o en Toulouse, ha abandonado la camisa de fuerza de ese g\u00e9nero para ampliar su alcance a todos los medios utilizados en el arte contempor\u00e1neo. As\u00ed, este a\u00f1o, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10],"tags":[444,351,400],"class_list":["post-46179","post","type-post","status-publish","format-standard","hentry","category-articulos","tag-arte","tag-articulo-html","tag-lapiz-revista-internacional-de-arte"],"acf":[],"_links":{"self":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46179","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/comments?post=46179"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46179\/revisions"}],"predecessor-version":[{"id":48404,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46179\/revisions\/48404"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46179"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46179"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}